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GUSTAV MAHLER

(1860-1911)

Symphony No. 10

78:24

A performing version of the draft for the Tenth Symphony prepared by Deryck Cooke (1919-1976)

in collaboration with

Berthold Goldschmidt (1903-1996)

Colin Matthews (b. 1946)

David Matthews (b. 1943)

To the memory of Alma Maria Mahler

Part 1

1

I

Adagio. Andante - Adagio - Andante come prima -

23:50

2

II

Scherzo. Schnelle Vierteln -

12:36

Part II

3

III

Purgatorio. Allegretto moderato - Vorwärts -

4:14

4

IV

[Scherzo]. Allegro pesante. Nicht zu schnell -

13:12

5

V

Finale. Einleitung: Langsam, schwer - Allegro moderato -

24:08

Using the well-known realisation by Deryck Cooke, this recording is presented here by Gianandrea Noseda and the BBC PhilharmonicThis new studio recording of Mahler’s Tenth Symphony follows a performance at the 2007 Proms

Mahler’s deeply personal Tenth Symphony deals with death, redemption, and salvation and is seen by many as a farewell to life. Left as a single Adagio plus fragments of four further movements, it was realised for performance by the Mahler/Bruckner expert Deryck Cooke and premiered at the Proms in 1964. Cooke called his realisation ‘a performing version of the draft for the Tenth Symphony’ and was always concerned to stress that it was in no sense a completion, since only Mahler himself could have completed the work. Symphony No. 10 has since become an established part of the repertoire alongside Mahler’s completed symphonies.Gianandrea Noseda and the BBC Philharmonic have performed Mahler’s symphonies on many occasions, and it has been noted that Noseda ‘conducts with breathtaking dynamism’ (The Guardian). This is the first time that their interpretation of a Mahler symphony has been preserved on disc.

Reviewing the BBC Philharmonic concert, Michael Church wrote, ‘Its performance here was masterly, with Noseda letting the textures breathe and grow, and permitting the extraordinary instrumental dramas of the finale to run their vivid course’.

He [Noseda] coaxes playing from his BBC Philharmonic of unforced beauty, keeping the lines alive in the more monumental proportions of the outer movements and lining the string sound with handsome horn and trombione chords assisted by the luminous Manchester recording…In the interplay between soft dynamics and ‘big tine’ as Mahler’s love of life reasserts itself, Noseda and his orchestra ultimately touch greatness.

BBC Music Magazine

In terms of playing and recording, this is probably the orchestra’s finest collaboration yet with Chandos, while David Matthew’s note is as authoritative an introduction as could be wished.

International Record Review

Noseda’s vision of the work comes into its own as aggression gradually subsides into the funereal thud of the drum. The account of the consoling finale is one of the most intensely moving on disc

The Telegraph

This new performance surpasses Rattle II in emotional intensity and sound quality; 10ths by Inbal, Chailly, and Michael Gielen, as well as rattle I, have their strengths, but I have no reservations in suggesting that Noseda’s performance is superior. Anyone looking for a first-rate recording of Deryck Cooke’s Mahler 10 need look no further.

Fanfare

The first song speaks of ‘anger’ and ‘trouble’, and there’s plenty of both in Mark Padmore’s performance… However, there’s more to Padmore’s performance: fine tone, a strong sense of pitch, crystal clear enunciation and a wonderful feeling for long lines. The members of the Schubert ensemble make superb musical partners here, and then make the strongest case yet for the earlier Piano Quintet.

BBC Music Magazine ‘Choice’

Noseda conducts an impassioned performance… and heeds Matthew’s observation that Mahler’s orchestra is huge for instrumental clarity rather than volume.

Sunday Times

The first song speaks of ‘anger’ and ‘trouble’, and there’s plenty of both in Mark Padmore’s performance… However, there’s more to Padmore’s performance: fine tone, a strong sense of pitch, crystal clear enunciation and a wonderful feeling for long lines. The members of the Schubert ensemble make superb musical partners here, and then make the strongest case yet for the earlier Piano Quintet.

BBC Music Magazine ‘Choice’

In terms of playing and recording, this is probably the orchestra’s finest collaboration yet with Chandos, while David Matthew’s note is as authoritative an introduction as could be wished.

International Record Review

Noseda’s vision of the work comes into its own as aggression gradually subsides into the funereal thud of the drum. The account of the consoling finale is one of the most intensely moving on disc

The Telegraph

I find the sound here (so impotant in Mahler) to be much superior to that from Berlin, and with tempi roughly comparable to those of Rattle, it puts this disc on level pegging as a recommendation.

Liverpool Daily Post

When I heard this orchestra and conductor perform this work in public, I thought it was the finest account yet of Deryck Cooke’s wondrous performing edition. This recording confirms me in my opinion. Gianandrea Noseda obtains superlative orchestral playing, which is captured by the excellent recording, and the symphony’s hypnotic power is projected with the surest of touches. The scherzos are especially well characterised and the interpretation of the devastating finale is – well, devastating. David Matthew’s booklet essay is required reading.

Sunday Telegraph

*****

J Bosschaart

*****

A Betancourt

*****

Excellent performance and the sound quality was superb. Agree entirely with J Wilson

T Chapman

*****

I was surprised at the intensity of this performance following the lukewarm Gramophone review (mind you, Gramophone these days...) But I purchased the 24/96 download which may have made the difference - extraordinary depth, power and beauty of sound with a true Mahlerian "palette" of orchestral colour. I have for comparison the CDs of Gielen, Rattle/BPO and Sanderling. Noseda is closest to the excellent, "objective" style of Gielen but more intense and even better sound with 24/96. The finest live performance I ever heard was Chailly at last years' Proms, on disc I would incline to Sanderling, but as a High-Res download you must hear this!